February catalogue: World Art Society

FeBRuaRY issue

WHO We aRe

The artworks are presented with a full description and corresponding dealer’s contact information. Unlike auction sites or other platforms, we empower collectors to interact directly with the member dealers for enquiries and purchases by clicking on the e-mail adress. In order to guarantee the quality of artworks available in the catalogues, pieces are validated by all our select mebers, who are the in-house experts. Collectors are therefore encouraged to decide and buy with complete confidence. Feel free to ask the price if the artwork is listed with a price on request and request high resolution images.

Please send us your email to receive our next catalogue : info@worldartsociety.com

/WorldArtSociety

Cover image: Memory Journey, Spring. Presented by Famarte on p. 6

alberto guzmán (1927-2017)

Born in 1927 in Talara, Peru and died on November 2, 2017 in Nogent sur Marne. The Parisian sculptor of Peruvian origin, Alberto Guzmán, studied at the National School of Fine Arts in Lima, where in 1953 he exhibited his first abstract sculpture in welded iron. He then organized his first solo exhibition at the Instituto de Arte Contemporaneo in Lima in 1959, when he obtained, through a competition, a scholarship offered by French government to study in Paris. Two years later, he presented his sculptures in welded wire at the Musée d’art modern de la Ville de Paris as part of the exhibition "Latin American Art in Paris", then at the “Salon de la Jeune Sculpture”. Guzmán implements a universal language in which two half-spheres are held apart at a distance by metallic wires in tension which translate the impossibility for the human being to achieve essential unity. Guzmán also exhibited in Caracas and Valencia in 1965 and participated in the Venice Biennale the following year. From the 1970s, the artist sought to transpose his creations into marble and began to work in chiaroscuro by making drawings on paper or cardboard in which he then made perforations

and cutouts. Guzmán received the Bourdelle Prize in 1971 and organized the following year at the Musée Bourdelle a personal exhibition of his sculptures and drawings from 1959 to 1972. In 1973, he took part in the exhibition "Sculptures en Montagnes" on the Plateau d 'Assy in the French Alpes and then subsequently presented his work at the European Sculpture Triennial at the Grand Palais (1982) and at the Havana Biennale (1986). Along with his career as a sculptor, Guzmán produced jewelry, furniture and theater sets. In 2012, the Musée des Beaux-Arts in Pau organized a retrospective exhibition of his pictorial and sculptural work which highlighted half a century of artistic reflection.

Place verte

1992

Onyx and bronze

60 x 60 x 30 cm

Price: 40.000 euros

Publication : Restany, Pierre; Lambert, Jean-Clarence; Brice-Echenique, Alfredo ; Persin, Patrick-Gilles ; Guzman, Vincent (Ed.): Alberto Guzman. Paris 2008, p. 235.

gaewon Jang (b. 1969)

"The ceramic bowl, a frequent theme in his artworks, and part of the famous Korean ceramic history, acts as a time capsule containing the stories, situations, and emotions of the artist’s childhood. Its tells a story of home, tradition and heritage. This edition is one of the four seasons serie, representing Spring time.

Daegu University

2022: Blue art fair Daegu, International gallery Art Fair, Kiaf Plus, Daegu International art fair

2021: Blue art fair Daegu, Bama international gallery art fair, Daegu Art Fair

2020: Bama International gallery art fair, Blue art fair Daegu, Pink art fair

2019: Seoul Art Expo, Daegu Art Festivall, Asia hotel art fair, Art Busan

2018: Daegu Art Fair, Daejeon International Art Show, Busan International Art Fair, Seoul International Art Festival

Memory Journey, Spring

Seoul, South Korea

2021

Oil paint

38 cm x 38 cm

Price: 2.500 euros

aRtWORk pResented BY:

Farah Massart

M.:+32 495 289 100

E.: art@famarte.be

W.: www.famarte.be

guy Ferrer (b. 1955)

Born in 1955 in French Algeria, of Italian and Catalan descent, Guy Ferrer has worked in many foreign countries creating temporary studios in Paris, Los Angeles, New York, Caracas, Lima, Johannesburg, Beijing. Since the 1980s, he has developed an international career highlighted by painting and sculpture exhibitions in numerous galleries and received several commissions from the French government, cities and important companies. His work summons textures, pigments, collages, graphics, fragments, found objects and mixtures of earth, ashes or tar on canvas or paper. All his sculptures are bronze castings. Each work speaks as much of touch as of sight, and less of the hand than of the body as a whole.

As a fully self-taught artist, Ferrer also extends his material artworks to explore writing and architecture. He proposes diverse perspectives and as a Citizen of the world, is highly concerned with the variety and mobility of the human being. Passionate about spiritualities, he offers his sensitive and poetic

vision of humanity facing its paradoxical destiny: according to the artist, humanity is both of light and mud, and one’s pathway through life is the fundamental initiation. Practicing his art gives Ferrer the possibilities to explore the world and learn from it, step by step, thus the world becomes his experimental laboratory.

À Velasquez

2015

Mixed media on linen

130 x 97 cm

Price: 11.500 euros

In the exhibtion " MANA - dans l'Oeuvre, la Puissance", at Galerie Meyer till the 1st of May 2023.

aRtWORk pResented BY:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

w.: www.meyeroceanic.art

ichikawa toru (b. 1973)

Ichikawa Toru was born in Tokyo in 1973. He is based in Okayama.

In 2016 he was nominated at the 9th Contemporary Tea Ceramics Exhibition at Toki City Cultural Promotion.

Chawan (tea bowl)

Earthen ware pottery

8,5 cm x 11 cm x 11 cm

Tomobako

Price on request

aRtWORk pResented BY:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: mingei.arts.gallery@gmail.com

W.: www.mingei.gallery

isezaki Mitsuru (1934-2011)

Isezaki Mitsuru was a member of the Nihon Kōgei Kai (Japan Association for Arts and Crafts). He was awarded with the Kaneshige-Tōyō Price in 1973. In 1998, he was given the honorable title of “Okayama Prefecture Intangible Cultural Property". His younger brother is Isezaki Jun (born in 1936) who is a Ningen Kokuho artist (Japanese "Living National Treasure") also working in the Bizen pottery tradition.

The Funa Tokkuri shape is a style unique to Bizen ware. When it is used on a ship or boat, the bottom is wide so it may not topple.

Hi-tasuki (Hi-dasuki) : This is a unique technique found in Bizen pottery, already deployed in the Momoyama Period. Pieces of rice straw are soaked in salt water and bound around the unglazed body of pottery, creating the distinct « red ribbons » design during the firing.

Bizen Hanaire (vase)

Circa 1981-1990

Hidasuki, Funa-tokkuri shape

Earthen ware pottery

26,5 cm (w) x 47,5 cm (h)

Tomobako

Price on request

aRtWORk pResented BY:

Galerie Mingei

T.: + 33 (0)6 09 76 60 68

E.: mingei.arts.gallery@gmail.com

W.: www.mingei.gallery

Jadunath pal

Krishnanagar, a province of Bengal, has a long history of clay modeling which began in the mid18th century when Maharaja Krishnachandra Roy (r. 1728–1783) established potteries in the region in order to create religious idols (Chose, 44–45). While clay figurines were traditionally limited to figures of deities from the Hindu pantheon, the Maharaja’s introduction of the Hindu practice of Barwari Puja (community worship) created a large and diverse clientele for clay modeling. Clay scenes made for group worship began including figures of human attendants that served the clay gods. These human figures soon became popular on their own, encouraged by the Western demand for realistic representations of the people, plants, and animals of India (Chatterjee, 208).

The practice reached its zenith in the late 19th century, when such figurines were considered national treasures and were often sent to international exhibitions to represent India. In particular, the Pal family garnered much renown for their exceptional skill in the craft, the most famous of whom was Jadunath Pal (1821–1920). An article written for the Glasgow International Exhibition in 1888 recounts that:

The figures made by [the Pal family] have acquired great celebrity, and they have repeatedly gained medals and certificates in most of the International Exhibitions held since 1851. There is considerable delicacy and fineness in their work; the figures are instinct [sic] with life and expression, and their pose and

action are excellent. (Mukharji, 59)

The writer continues that Jadunath Pal in particular had “no equal in India in this kind of work” (Mukharji, 63).

The present set, representing a variety of Indian castes, is attributed to Jadunath Pal, who often included the contributions of specialist tradesmen in his work–the clothing was made not by modelers, but by actual tailors, and if a figure was accessorized with a basket or a necklace, they often came directly from the professionals themselves, giving the figures an exceptional realism. While many of the figures are missing the implements of their trade that would once have distinguished them from one another, the delicate positioning of their bodies and their animated appearance nevertheless bring them to life. Not only were these figures once outfitted with real clothing and tools, but also with human hair. While this novel feature is now missing on a majority of the figures, the largest of the group—an elderly man with a wonderfully articulated stomach and a string of beads around his neck—still retains his original patch of hair.

See a similar group by Jadunath Pal which was exhibited at the Melbourne International Exhibition in 1880 and gifted to the National Gallery of Victoria by the India Commision of the Melbourne International Exhibition (acc. ST 40409-40414).

Indian clay figures

Attributed to Jadunath Pal Krishnanagar

19th century

Clay, hair, cloth

Height and under: 28,6 cm

Price on request

aRtWORk pResented BY:

Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

W.: www.kapoorgalleries.com

Jamini Roy (1887–1972)

One of the earliest and most important artists of the Indian modernist movement, Jamini Roy began his artistic training in the European academic style. In response to a burgeoning sense of nationalism, from the mid-1920s he became increasingly influenced by indigenous folk art and craft traditions as well as East Asian calligraphy. Roy was particularly inspired by the Kalighat style, producing minimalist works characterized by soft, curvilinear strokes showcasing the artist’s control of the brush.

These paintings employed imagery from everyday life, such as mother and child figures, and were executed in monochromatic palettes.

The present artwork epitomizes the simplistic style Roy developed during this period in his career. Fluid, sweeping black strokes against a soft gray background form the outline of a woman standing in three-quarters view, her hands crossed in front and her head tilted coyly. Devoid of any identifying features, the painting evokes an inviting yet mysterious atmosphere, ultimately illustrating the artist’s mastery of the brush and contour. The piece is signed in Bengali at the lower right.

Untitled (Woman Standing)

India

Circa 1920

Tempera painting on cardboard

68,6 cm x 36,2 cm

Price on request

Provenance:

Private collection, New York

Private collection, Pennsylvania

aRtWORk pResented BY:

Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

w.: www.kapoorgalleries.com

kowari tetsuya (b. 1970)

The first Shino ware was developed during the Momoyama period (1568–1600), in kilns in the Mino and Seto areas. The glaze, composed primarily of ground local feldspar and a small amount of local clay, produced a satiny white color. It was the first white glaze used in Japanese ceramics. Wares decorated with Shino were fired in the Anagama kilns used at that time. Anagama kilns were single-chambered kilns made from a trench in a hillside that was covered with an earthen roof.

His kiln is called Mushin-gama, in Fujinomiya, in the prefecture of Shizuoka, a city located at the foot of the western slope of Fujisan.

shino ware tokkuri (sake flask)

Earthen ware pottery

15 cm (h) x 9,5 cm x 11 cm

Tomobako Price on request

OBJeCt pResented BY:

Galerie Mingei

M: +33 (0)6 09 76 60 68

E: mingei.arts.gallery@gmail.com

W: www.mingei.gallery

Marie diane

A Parisian at heart, Marie Diane expresses herself through her multiple creative facets.

Endowed with a refined gesture and eye, this self-taught artist practices drawing and painting. For nearly 20 years, she has been experimenting with very different styles, letting her imagination and talent run wild as she creates. In 2014, Marie Diane exhibited for the first time in a London gallery the GX Gallery where her works met with great success.

She paints, enhances, details sculptures. After several years in England, Marie Diane decided to settle in Paris. In 2020, curious to broaden her creative palette, Marie Diane creates small test drawings in Indian ink.

She visits Parisian fairs, gets inspired and imagines new forms. Little by little, the artist sketches masks and tribal statues, the best way according to Marie Diane to learn and enter this subject which fascinates her., A real bulimic artist, Marie Diane satisfies her thirst for elsewhere by reproducing all the objects she discovers in the books in her library. Her gaze is fed by masks and statues, ancestral customs and primordial rituals. She also listens to African music, watches documentaries and reads a lot in order to immerse herself in this captivating universe. Determined to see beyond the simple

aesthetics of these pieces, she wishes to recontextualize them, understand their stories before transcribing them on paper. Very quickly, Marie Diane moves on to large formats.

In June 2021, gallery owner Eric Hertault invites her to exhibit in his gallery during Paris Tribal Fair. This unprecedented dialogue between both arts was a real success. With their disturbing realism, Marie Diane's paintings quickly find their audience. The artist extendsher exhibition there during the Parcours des Mondes in September and at Galerie Mingei, both located in the heart of Paris in the VIth district. The artist also signs the invitation card for the highly anticipated Toshimasa Kikuchi exhibition at the Musée Guimet (2021).

Marie Diane sees, in ink, a way to go further in creation. She spends many hours on each drawing, from nine to fifteen hours for a large format. The application of Indian ink, a complex play of light and transparency, requires several stages of drying, for a better restitution of depths and volumes, leading the artist to work on several drawings at the same time. Working with Indian ink undeniably offers a new dimension to drawing. Marie Diane likes to challenge herself on different textures. Wood, blade, basketry, leather, the artist always makes sure that the work keeps its relief, its depth, its authenticity.

Meticulous, she observes and analyzes each detail in order to reproduce the essence of each sculpture as accurately as possible. She works from contrasted pictures which help her to ""enter the light and take possession of the object. Marie Diane's drawings offer a new look at extra-Western creation. Her works are a kind of ""zoom"", an invitation to admire the incredible play of light and matter of those pieces. From Africa to Asia, Marie Diane ’s graphic lines seem to have no limits.

As for painting, her other refuge, there is no doubt that we are no longer talking about precision. It is a complete letting go; a timeless and personal interpretation of space. Highlighting direction with colors is her only finality. The eye is quick to detect the permanent research, to put clarity on this agitated painting which is nevertheless dominated by very structured organizations.

Marie Diane daringly seeks to master and burst color through various superimpositions with a painter's knife.

perpetual Burning

Acrylic on canvas

116 cm x 89cm

Price: 4.800 euros

OBJeCt pResented BY:

Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W.: www.eric-hertault.com

Vibrations of the depths

Acrylic on canvas

162 cm x 130 cm

Price: 7.900 euros

OBJeCt pResented BY:

Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W. : www.eric-hertault.com

lucile soussan (b. 1990)

"Born in 1990, the French multidisciplinary visual artist Lucile Soussan extends her field of action from traditional craftsmanship to contemporary art and specializes in color design for the luxury and cosmetics industry. Winner of the 3under30 prize promoted by the Galerie Daniel Blau and former student of the National School of Fine Arts in Paris at Eric Poitevin's studio. Her work is rooted in ancestral cultures. In her eyes, there is a strong kinship in the unique bond of these peoples with nature and she recognizes herself in this sacred approach to life. Photography remains for her a nomadic art to discover shoots in nature like a hunter-gatherer of images. From these collections made during long hikes, she keeps memories associated with their digital files. The challenge is to restore materiality and make this memory exist. She is imbued with images by Georges Shiras and texts by Jean-Christophe Bailly, the animal constitutes “an Other” whose discretion fascinates her. Soussan is particularly strongly influenced by contemporary Japanese photographers,

Takashi Homma and Naoki Ishikawa. The raw vivacity of their images moves her, and this is perhaps one of the reasons that motivated her to combine photography and engraving. Photoengraving allows, by means of a complex experimental technical process, to engrave a copper plate which will become what she calls ""a mold of an image"". This adventure allows her to reactivate the memory of sparks from a distant nature.

""I wanted to realize a work at the crossroads of the marvelous and the primitive at the same time purified and carnal. The anteater, by the mischievousness of its form, invites a detour. It is only after having finished this sculpture that I detected its origin in a Japanese scroll painted by Hokusai. More than the nature of the animal itself or its luminous environment, it is the artist's tone between humor, poetry and animism in which I recognized myself.""

Group exhibition catalogue : https://issuu.com/ajpmeyer/docs/ contemporain_x_ancien_catalogue

Dragons de mer

2016

Engraving and ink on paper

76 x 56 cm

Price: 1.500 euros

aRtWORk pResented BY:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

w.: www.meyeroceanic.art

Roger Boulay (b. 1943)

Roger Boulay was born in 1943 in the Sarthe region of France. He defended his doctorate in ethnology in 1986, but it was in 1979 that the decisive meeting with Jean-Marie Tjibaou took place, which anchored him in an exclusive passion: Oceania. Since then, he has developed a policy of intense collaboration with Kanak cultural institutions which led him to be entrusted with the museographic program of the Tjibaou Cultural Center (Nouméa) along with Emmanuel Kasarhérou. As a well known curator of numerous exhibitions, he was commissioned in 2011 by the government of New Caledonia to produce, again with Emmanuel Kasarhérou, the inventory of all Kanak objects kept in French and European museums (IPKD).

some exhibitions:

- For the Quai Branly Museum - Jacques Chirac: The aristocrat and his cannibals, 2008 Tarzan, or Rousseau among the Wasiri, 2009 Kanak, art is a word (with Emmanuel Kasarhérou), 2013

Kanak notebooks, travel in inventory, 2020-2021

- For the National Museum of Arts of Africa and

Oceania: Of jade and mother-of-pearl, 1991 Arts of Vanuatu, 1996 Kannibals and Vahines, 2001

- For the Museum of New Caledonia, Nouméa: Of jade and mother-of-pearl, 1990

- For the Hèbre museum, Rochefort: Kanak notebooks, inventory trip, 2022

actual exhibition:

""Carnets Kanak - Voyage en inventaire de Roger Boulay"" 04/10/2022 - 12/03/2023Musée du Quai Branly- Jacques Chirac, Paris. #Carnetskanaks

aRtWORk pResented BY:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

w.: www.meyeroceanic.art

Figures à planter

2021

Watercolor and pencil on paper

42 x 43 cm

Price: 950 euros

In our exhibition "Art Kanak & Roger Boulay" from 07/04 to 21/05 2022.

serge dubuc (b. 1962)

Born in Paris in 1962, Serge Dubuc very early on showed a taste for drawing and far-away cultures. This is sharpened by the neighborhood of the family home, facing the house of Th odore Brauner, Victor's brother, and his family. After studying architecture (a referee error according to his own words), he turned to scenography and decorative painting, before becoming a sculpture restorer in 1999 following a crual and life changing experience in Tahiti. Apart from a few exhibitions in the context of workshops open in Paris, drawing remains for him above all a private, but constant affair. His taste for the letter, the word, associated with a very organized conception of the space of the sheet of paper, leads him to create original calligrams where the absurd is combined with humor and Dadaist accents. Beside that, portraits of characters from his personal pantheon confirm this attraction for the purity of the drawn line. Two stays in New Guinea in 2008 and 2011 are for him the opportunity to bring back dozens of drawings of scenes of daily life, portraits and gestures of which he says "something will have

to be done one day" ... Serge lives and works between Touraine and Paris.

Solo show catalogue:

https://issuu.com/ajpmeyer/docs/catalogue_6_ me_tagraphies

Animal Triste

Signed on the left lower corner

2022

Ink on Tonga tapa

58 x 41cm

Price: 700 euros

aRtWORk pResented BY:

Anthony J.P. Meyer

T.: +33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

w.: www.meyeroceanic.art

suda kokuta (1906-1990)

Suda Kokuta (1906-1990) was one of the major abstract artists in post-war Japan, who produced various experimental works deeply rooted in Zen philosophy. He is also known for his distinctive figurative painting from the early period as well as calligraphy characterised by vigorous, dynamic brushwork.

Suda started his career as a figurative painter in an individualistic drawing style with a particular emphasis on the line, the most fundamental visual element in all art. While exhibiting at major group exhibitions from 1933 and enjoying success as an artist, he is also known to have studied Zen philosophy intensely. Buddhism is to continuously inspire the artist throughout his life. In 1941, he moved to the ancient capital of Nara and lived in the quarters of Shinyakushi-ji and Todai-ji temples where he spent six years painting the Buddhist sculptures treasured there.

In 1949, he met Hasegawa Saburo (1906-1957), one of the pioneers of Japanese abstract painting, who had a profound knowledge of traditional Eastern philosophy. Meeting with Hasegawa, Suda realised the essence of Zen is abstract and

shifted his artistic style from representational to abstract. For the next 20 years, he continued to experiment with various mediums and styles, producing abstract painting with a tactile quality and complex texture, to express the profound universe of its philosophy.

In 1955, Suda was invited by Yoshihara Jiro (19051972) to join the new avant-garde group Gutai but he chose not to, preferring to stay independent in his own creative process. Yet he actively engaged with other avant-garde artists based in the Kansai region including Yoshihara and Morita Shiryu (1912-1998). In addition to regular solo and group exhibitions in Japan, from the late 1950s he started to exhibit overseas including: the 4th Sao Paulo Biennale in 1957, the 11th Plemio Resonne International Art Exhibition of Italy and Houston USA in 1959, and then the 1961 Carnegie International Exhibition, Pittsburgh USA.

In the 1970s, Suda returned to figurative representation but this time a trace of abstraction remained on his canvas. He enjoyed to mix both styles, finding that abstract and representational paintings were not something contradictory.

Untitled

Signed Koku to lower right; signed and dated on the reverse

1961 Oil on canvas

52,5 cm (h) x 72 cm (w)

Price: 38.000 euros

Provenance: Private collection, Japan

aRtWORk pResented BY:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Hana Hen Gen (Flower Turns into an Illusion)

1988

Ink on paper

50,5 cm x 146 cm

Price on request

aRtWORk pResented BY:

Rasti Fine Art Ltd.

M.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

By this time, he was also practicing calligraphy and expressed philosophical words in ink with dynamic lines full of vitality. His obsession for the quality of the line, his talent as a painter and his strong spirituality soon brought him recognition as an outstanding calligrapher. The eminent avant-garde calligrapher Inoue Yuichi (19161985) likened Suda to the old masters Hakuin (1685-1768) and Tessai (1836-1924), both renowned as calligraphers as well as painters.

Throughout his life, he pursued his own art, continuously achieving breakthroughs in his

creations. His studio was a spiritual battle field for Suda as his painting process was intensely demanding both mentally and physically – since encountering with Zen Buddhism, he sought to embody its deep, universal philosophy and spiritual freedom onto the canvas. As such, his work seems to have enduring, magnetic power which transcends time and space and continues to resonate with us today.

For more about the artist visit our website http:// japanesescreens.com

suzuki Osamu (1926 - 2001)

Henko (Flat Vase)

Impressed seal mark: Su Japan

Circa 1968-69

Height: 34,5 cm

Price: 9.800 euros

Provenance:

Tsukamoto Hideyo, the first director of Osaka University of Arts in October, 1969

Accompanied by a Tomobako

(original box):

Titled Henko (flat vase), signed Osamu saku (made by Osamu) and sealed Osamu

aRtWORk pResented BY:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Suzuki Osamu was born in Kyoto and studied pottery with his father, Suzuki Ugenji, a master potter of the renowned Eiraku studio.

In 1948 along with other like-minded potters including Yagi Kazuo (1918-1979) and Yamada Hikaru (1923-2001), he co-founded the influential avant-garde ceramic group, Sōdeisha (Crawling through Mud Association), a name which refers to a Chinese term meaning 'glazing flaw'.

The aim of this group of potters was to install a more artistic and expressive dimension in pottery, relieving the final object of its utilitarian purpose and giving new form and meaning to the discipline.

Therefore, their creations could not be categorised as mere ceramics and they were often referred to as Objet-yaki (Ceramic Art Object). Suzuki took to creating organic and formalistic ceramics often entitling his works deizō (earthen figure) or deishō (clay image). Inspired by nature his sculptural works borrowed the forms of animals and natural phenomena.

In 1960 Suzuki won a prize at the Japan Ceramic Society, Tokyo and in 1961 the Golden prize at the International Pottery Exhibition, Prague. Having achieved international success Suzuki became associate professor of ceramics at the Osaka University of Arts in 1968 and in 1970 won the Golden prize at La Biennale Internationale de Céramique Contemporaine, Vallauris, France before receiving the Minister for Trade prize at the International Pottery Exhibition, Faenza the year after.

Following the premature death of Yagi Kazuo in 1979 he took over teaching ceramics at Kyoto City University of Arts and continued to do so until his retirement in 1999. That same year he held an exhibition at the National Museum of Modern Art, Tokyo and in 2013 twelve years after his death, the National Museum of Modern Art, Kyoto held a retrospective entitled Suzuki Osamu: Image in Clay, portraying Suzuki's evolution and philosophy: from 'Pottery for Use' into 'Pottery for Viewing' and eventually into 'Poetry Ceramics'.

Yuichi inoue (1916-1985)

Inoue Yuichi, a pioneer of Japanese abstract calligraphy, is often mentioned with the likes of Franz Kline, Robert Motherwell, Pierre Alechinsky and Henri Michaux. Yuichi communicates his artistic message through logographic kanji characters which he writes using his entire body to channel energy into his work. They display a sense of honesty and simplicity.

Although the overseas exhibitions Yuichi participated in during his lifetime immensely boosted his popularity, he preferred to devote his energies to the creative process and avoided taking part in exhibitions on a regular basis. He was extremely self-critical of his works to the point of destroying everything he considered to be ‘inferior’.

A three-volume catalogue documents almost his entire repertoire.

Buta (Pig) 1958

Ink on paper 90 cm x 179,5 cm Price on request

Exhibition:

‘The 6th ‘Bokujin’ Group exhibition’, Kyoto Municipal Museum of Art, Kyoto, 1958.

Publication:

Catalogue Raisonné no.

58005

Unagami, Masaomi, Sho by You-Ichi ’49-’79, no. 24, Unac Tokyo Co, Ltd, 1980

aRtWORk pResented BY:

Rasti Fine Art Ltd.

M.: +852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com